This Week In Photography Books: Toni Greaves

by Jonathan Blaustein

We all make choices in life.

Some imagine this as fate, believing our desires are pre-destined by some deity or other. Others believe in free will, countering that our decisions are our own to make.

Most of the time, what we choose to do impacts us, and perhaps our loved ones or co-workers. (A few others, but not THAT many.)

Then there are people like LeBron James.

LeBron, who reclaimed his mantle as the Best Basketball Player in the World last night, crushed the hopes of an entire region when he left the Cleveland Cavaliers in 2010. (I’m writing on Monday.) If you’re not up on sports, LeBron switched teams back then, joining the Miami Heat, in one of the more tone-deaf PR moves of the 21st Century.

“I’m taking my talents to South Beach,” he said, thereby dooming gloomy North East Ohio to more basketball misery. The city had not had a Championship in 52 years, until last night, and it’s hard for anyone outside of that area to understand how many hearts were broken when LeBron left town.

Shockingly, in 2014, LeBron chose to return to the Cleveland Cavaliers, claiming the pull of home was too great. (He was raised in nearby Akron.) It was unprecedented, both what he did and how he did it, this time engendering a PR coup by writing an open letter to the city of Cleveland, announcing his triumphant return.

It seemed like a somewhat insane move, as the Cavs were by then the worst team in basketball, and trading South Beach for Cleveland makes as much sense as Donald Trump’s campaign accounting.

The numbers people began spewing estimates of how much money would flow back into the Cleveland metropolitan area, and it was in the tens of millions. One man, who’d grown up under difficult circumstances, was hailed as a mini-stimulus-package, personally impacting the economy of an entire region.

He promised everyone a Championship, and last night he made good. It was a spectacular feat, from a sporting perspective, as the Cavs fought back and won a series, after being down 3 games to 1, a situation that had never been reversed in the HISTORY OF THE NBA.

Quite the magical ending.

There were videos showing downtown Cleveland as one massive party. People wept, including LeBron. (No team had won anything of note there since 1964.) It was revelatory, and came about, once again, because of the decision of one human being, and his concomitant devotion and belief.

LeBron James had a vision, and he made a seemingly odd choice, because the little voice in his head told him it was the right thing to do.

The same goes for a young woman named Lauren, who realized in her early 20’s that she had fallen in love with God.

Say what now?

Well, Lauren is the main subject, or perhaps we should say dramatic lead, in the beautiful “Radical Love,” a photo book by Toni Greaves, published recently by Chronicle Books in San Francisco.

“Radical Love” follows Lauren’s path as she eschews life in the outside world, and joins a cloistered convent of nuns in Summit, New Jersey. (The site of my own biggest sports fail, as I managed to just-miss scoring the game-winning goal, as the ball trickled across the goal line, in a huge playoff game back in high school.)

Lauren is attractive and photogenic, and, as Toni points out in the afterword, is living in a place and time in which she could follow so many paths. This is an unprecedented time to be a woman in the West, because despite the lingering stench of sexism, there are freedoms available that have never been available to women before.

Ever.

And yet Lauren, who apparently had a boyfriend at the time, felt that her future lay beyond closed doors, praying to that same God, on behalf of the rest of us. (The Nuns of this order live to pray for others.)

It’s obviously strange to see, as we’re accustomed to Nuns as asexual, older women, whose wrinkles keep them company in bed at night, rather than a man’s hairy arms. We imagine Nuns as dour; whacking palms with rulers, or wagging fingers at our filthy language and continued indiscretions.

But this book, which really functions as a long-form photographic narrative, dispels such cliché notions. These pictures depict happy people, engaged in a community that supports them, (and apparently us,) with love.

There are some remarkable pictures, in particular a recurring motif in which Lauren, and others, lie prostrate on the ground. One even captures Lauren making a snow angel, that most child-like of joyful activities.

Over the course of this 7 year project, we do get to see Lauren age and grow a bit; the ebullient sheen slowly wearing off of her skin as comfort and confidence replace the pallid flush of the new.

This is a lovely book, and it is clear that both its maker, and subjects, approach each day with positivity and grace. Those feelings emanate off the paper, an offering to anyone who picks the object up to take a peek.

As I sit here staring at the cover, I notice the barren black trees against deep navy. (And the implied crucifix as well.) It’s a heavy image, resonant of winter and death. It fits what I expected to find inside, but the innards were nothing like that at all. Instead, they shined like the freshly mopped floors of a convent kitchen.

Lemon-fresh scent included.

Bottom Line: Lovely, long-term project following a young woman as she devotes her life to God

To Purchase “Radical Love” Visit Photo-Eye

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The Art of the Personal Project:

As a former Art Producer, I have always been drawn to personal projects because they are the sole vision of the photographer and not an extension of an art director, photo editor, or graphic designer. This new column, “The Art of the Personal Project” will feature the personal projects of photographers using the Yodelist marketing database. You can read their blog at http://yodelist.wordpress.com. Projects are discovered online and submissions are not accepted.

Today’s featured photographer is: Nadia Pandolfo

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How long have you been shooting?
I have been shooting for twenty years

Are you self-taught or photography school taught?
A mixture of self-taught and photography classes at USC.

With this particular project, what was your inspiration to shoot it?
I love to travel and document what I see. I try to remain open to dialogue with the place I am experiencing. I have been fascinated with the Galapagos Islands for as long as I can remember because it’s where Charles Darwin became inspired to write his evolutionary theory. So in 2015 I traveled to Ecuador. I became a certified PADI diver in preparation so I could also experience the underwater life there.

How many years have you been shooting this project before you decided to present it?
One year

How long do you spend on a personal project before deciding if it is working?
It varies. Some personal projects are quickly completed and are more spontaneous and more experimental, while others involve a slow meticulous process of planning that may involve several years. But in this case, it was a matter of months.

Since shooting for your portfolio is different from personal work, how do you feel when the work is different?
Usually with personal work, I can be more creative and more experimental, since I am shooting for myself, not for a specific client, or audience. If the project works, and it finds an audience, great, but even if it doesn’t, I am still satisfied because it was something I needed to articulate, which emanated from a very deep place within me. Sometimes it takes time for certain projects to be appreciated by an audience. Sometimes certain projects just never come off the ground. But no matter what, it is never wasted time, because it is always a learning lesson. Personal projects often begin with a question, and the project is an attempt to find an answer to that question. So it is always a means to finding a deeper understanding. Usually my personal projects are precursors to more polished or orchestrated projects, which I might do at a later date. So they become part of a repertoire of subject matter to be further source of inquiry.

Have you ever posted your personal work on social media venues such as Reddit, Tumblr, Instagram or Facebook?
I use Facebook quite a lot. But I have recently begun posting on Instagram and Twitter as more regularly.

If so, has the work ever gone viral and possibly with great press?
I don’t know if I can say that any of the work has gone viral. But I know I have cultivated fans who appreciate my personal photography. Many people write and comment how much they enjoy the work. I have also had some of these projects published in journals and magazines and have been approached to donate some of these images to auction for charity.

Have you printed your personal projects for your marketing to reach potential clients?
So far, I have not printed my personal projects for marketing to potential clients. But it is something I would plan to do in the future.

——————-

Nadia Pandolfo began shooting professionally in 2001. Her work has been featured in several magazines both in the United States and abroad, and prints of her work have been auctioned for various art benefits supporting charity. She has shot ad campaigns for Hale Bob, Elvis Shoes/ Ed Hardy, Kain Label, Voda Swim, Urban Behavior, Costa Blanca, Macy’s among others. She was featured as a photographer and judge on America’s Top Model. She is best known for her cinematic style, using combinations of sculpted and natural/ ambient light. Her photos always tell stories whether it is a documentary project or an orchestrated shoot. She has also has completed several photo essays based on Hollywood classic recreations including: Rear Window, North by Northwest, The Birds, Breakfast at Tiffany’s, and The Getaway. She studied at University of Southern California. Some of her other personal projects have included: Guatemala, Iceland and Cuba.


APE contributor Suzanne Sease currently works as a consultant for photographers and illustrators around the world. She has been involved in the photography and illustration industry since the mid 80s, after establishing the art buying department at The Martin Agency then working for Kaplan-Thaler, Capital One, Best Buy and numerous smaller agencies and companies. She has a new Twitter feed with helpful marketing information believing that marketing should be driven by a brand and not specialty. Follow her on twitter at SuzanneSease.

The Daily Edit – Oprah Magazine: Jonathan Kambouris

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The Oprah Magazine

Photographer: Jonathan Kambouris
Prop Stylist: Marissa Gimeo

Heidi: What type of direction did you get from the magazine?
Jonathan: O, The Oprah magazine approached prop stylist Marissa Gimeno and myself to photograph Mac’s new line of cosmetics for the O, Beautiful! page in the June 2016 issue. The client wanted to emulate the Navajo print of the packaging and create the pattern with the actual cosmetics. I love a good graphic pattern and I was completely on board with this concept!

How did this mosaic pattern idea develop?
We were inspired by the print on the actual packaging so we narrowed down which print worked the best. I did a few sketches with the idea that one of the actual products would be photographed on top of the pattern we were creating, possibly a lipstick or eyeshadow. In the end we decided the strongest composition would be to create the pattern out of the eyeshadow, blush and powder textures with no product on top.

Tell us about the actual build and was the crumble a happy accident?
The magazine supplied us with the product from Mac. However, there was not quite enough to complete the entire pattern. Marissa and I discussed the best way to tackle this challenge. In the end, I decided it would be best to create at least half of the pattern(specifically the top half). Once I got the light tweaked I had to shoot this in a few different stages. There was a good amount of planning  on set to ensure that this image was successful. I wanted to capture everything in camera rather than flipping it in post so the lighting felt consistent and natural with the way it falls off on the bottom. So I photographed each half and then flipped it on set and recaptured again. Once I captured the entire background we played around with different options for the top element. My digital tech quickly composited the several captures so we could see it as one image and decide what we needed to capture more of. In the end the top crumbled piece was a unanimous favorite. We did several variations and really perfected this crumble to make sure it felt natural and perfect. It was not necessarily pre-planned, however, it evolved very intuitively on set and the end result captured exactly what I wanted the image to look like.

How long did it take to build?
Marissa Gimeno: It took me half a day to measure and cut the risers for the composition prior to the shoot. On set, it took approximately 3 hours to apply the makeup to the risers and finesse the final layout.

Did you need to have special tools to handle the makeup?
Marissa Gimeno:
Nothing too unusual that couldn’t be found in a still-life stylist’s kit such as palette knives, makeup brushes and a little ingenuity.

The Daily Promo: Heather Byington

- - The Daily Promo

 

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Heather Byington

Who printed it?
Vista print made the post cards, envelopes were hand crafted by me.

Who designed it?
I did.

Who edited the images?
I did.

How many did you make?
452, though some were sent back, so roughly 420 made it out into the world. I sent promos to only to the agencies I had direct contact details for.
815 postcards were sent, just as a solo card/promo piece, these were all marketed to “art director/buyer”.

How many times a year do you send out promos?
This was my first real “big push”.  I have sent out a card here or there a couple times before, but nothing to this level. This is the first time I have heard anything back.

Tell us about the promo concept.
Anthology of Muddled Nightmares is a collaboration between myself and Mitchell Walter. I’ve always had an eye for the dark and macabre, but I balance it with visceral emotion and undeniable beauty.  Mitchell is a professional creative writer; he has always been smitten with short stories, finding their blend of narrative content and poetic metaphors powerfully engaging.

Having a mutual admiration for each others’ work, we decided to collaborate on Anthology of Muddled Nightmares. 

This Week In Photography Books: A-B-Cheeeese!

by Jonathan Blaustein

Believe it or not, in the last four days, three different people lectured me about the relationship between the amygdala and the hippocampus, two powerful, oppositional parts of the brain.

(And yes, that is definitely the longest opening sentence in this column’s history.)

But it’s also true.

Under pressure, the primal amygdala, of fight or flight fame, supersedes the hippocampus, which controls higher functioning.
(Essentially, when we’re triggered, we can’t think straight.) Our body chemistry, which often speaks to us in the form of emotion, runs the show when we’re stressed out.

It’s fact, and new studies demonstrate that our brains actually rewire, based upon repeated stimulus. If you’re bugging out all the time, that becomes your brain’s default hardware.

For months, you’ve read along as my teaching situation, in which I was repeatedly doused with cortisol, bled into other parts of my life. It’s hard not to be grumpy and short-tempered, or at the least allow some of life’s joys to pass you by.

So many of us work a lot, or stay connected throughout the day/month/year.

Do you sometimes wonder if you’re not having enough fun? Or appreciating your children properly?

I know I do.

So many of us are photographers, but how much time are you putting into aping your kid’s joy, getting down on the ground to make memories, rather than just pressing the virtual shutter on your Iphone?

I’m thinking here of the new photo/children’s book, “A-B-Cheeeese!”, recently published by Paul Schiek at TBW Books in Oakland. It’s pretty random, relative to what we normally review here, but also a bit of HGH to beef-up our fun-deprived muscles. (Especially in yet-another tragic week.)

I’ve reviewed a couple of TBW offerings in the past, and interviewed Paul last year as well. Though we’d never met, when I got to Oaktown last month, he picked me up at the airport so we could grab some In’n’Out burger, and watch the Golden State Warriors on TV at his place.

We’re two odd ducks, as artists, in that we’re both huge sports fans. He was immersed in it, growing up in Wisconsin, as was I in New Jersey, so the idea of catching a game, in the Warriors hometown, was too good to pass up.

He pulled up to the airport in a blue truck, and I immediately went to the back door to throw my bag inside. Mid-toss, I realized there was a little human being blocking my flight path. It was a pretty, 2 year-old-girl with big brown eyes and whimsical curls, and I was lucky not to crush her with my travel bag.

“Dad,” she said, “who’s THAT guy?”

And that was my name for the rest of the day. “THAT” guy. Young Rosary warmed to me eventually, and we had some fun for a few minutes.

But then the game turned, and before we knew it, the Warriors were down 40 points. They were getting destroyed. Embarrassed even.

In case you don’t know, this season, the Warriors broke the NBA all-time record for most wins in a season, with 73. They’re accustomed to having their way with the opposition, not being annihilated on national television.

So by the time I left, there was bad-sports-juju in the air, and I forgot my copy of the book, along with a strap from the aforementioned luggage. Paul kindly sent both to me, back in New Mexico, because I really wanted to show this book to you.

It was made in honor of little Rosary, so it says, and she’s also listed in the back, as a Creative Consultant. (It makes me wonder if there aren’t some child labor laws being broken here.)

But what exactly is “A-B-Cheeeese!”?

It’s a play on the classic children’s book conceit of having one letter of the alphabet be represented by a word, image or phrase.

I still remember the Dr. Seuss version I read to my son when he was an infant. Big A, little a. What begins with A? Aunt Annie’s alligator, A A A.

Big B, little b. What begins with B? Barber, baby, bubbles and a bumblebee.

Here, each letter is paired with a word, and a historical, vernacular image that Paul purchased on Ebay.

A is for automobile, B is for bath time, C is for curious. F is for fish, and H is for Hello.

The pictures have been scanned, and are presented in the middle of a blank white page. But the text page color varies, blue for black and white, pink for color.

Some of these picture grab me more than others, but they all make me sad, on some level. Because a few of these kids are probably dead by now, or at least very old themselves. These anonymous stories are someone’s memories, and out of context, our vulnerability to time still shines through.

But it’s also hopeful, as the book is literally made for one child, yet shared with many, which was the plot of some early Neal Stephenson novel, the name of which I’ve unfortunately forgotten. (Sorry Neal!)

As for favorites, I love fish, and laughing, and piñata and quack. I love reading and waving and xylophone.

But yellow is the best.

I bet if this kid had one do-over, that special 1970’s super-power, he’d make this picture disappear from reality in a poof.

Because he’s got the crazy-eyes.

These days, that picture would get posted on the dude’s Facebook page, and it would be there for every prospective employer to see. Forever.

Here, in the book, it’s being ogled by strangers, and I’m sure the guy will never know.

I like that this photobook is a children’s book, a gift for a daughter, and a new piece of history to age, with its already- old, forgotten histories inside.

This was a big week, let’s be honest. A horrible thing happened in Orlando, and for once, I didn’t devote an entire column to the Terrible Tragedy of the Day. Not to belittle such things, but it’s genuinely awful that these events happen around the world with such tragic frequency these days.

In light of all that suffering, a cute/cool little book with a premise built on love seemed the right choice for today.

Don’t you think?

Bottom Line: Poignant, hybrid photo book/children’s book

Go Here To Purchase A-B-Cheeeese!

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The Art of the Personal Project: Doug Levy

As a former Art Producer, I have always been drawn to personal projects because they are the sole vision of the photographer and not an extension of an art director, photo editor, or graphic designer. This new column, “The Art of the Personal Project” will feature the personal projects of photographers using the Yodelist marketing database. You can read their blog at http://yodelist.wordpress.com. Projects are discovered online and submissions are not accepted.

Today’s featured photographer is: Doug Levy

How long have you been shooting?
Part-time since 2007, full time since the end of the 2009 baseball season.

Are you self-taught or photography school taught?
Totally self taught (I have a finance degree!). After graduating from college in 2003 I spent six years umpiring professional baseball. Before spring training in 2006 minor league umpires went on strike. Baseball was threatening to cut off our health insurance so I started saving money to pay for that, but the day before I had to mail the check the strike was resolved and I went and spent it all on a Nikon D70s.

With this particular project, what was your inspiration to shoot it?
As someone who has absolutely no inherent ability to build or fix anything, people who are naturally able to create gorgeous handmade things have fascinated me for a long time.

Over the winter of 2014 I met the Bully Boy whiskey guys through a mutual chef friend and asked them if I could come by and photograph them at their distillery. Initially I thought it would be just a cool portrait for my website but then I met a few other local folks who fit in and started thinking that this could be it’s own standalone series.

How many years have you been shooting this project before you decided to present it?
I’ve been working on this for a little more than two years, but before it came together as a series, I was already sharing individual shoots in my portfolio.

How long do you spend on a personal project before deciding if it is working?
I shoot a lot of personal work, and they’re not always things that fit into longer form series. Sometimes it is just a single portrait that ends up in my portraits gallery or on my social. This is definitely the longest project I’ve done though, and not one I see ending anytime soon.

The great thing is that this is starting to snowball; the Trillium beer guys introduced me to the Barrington Coffee guys, the Firefly Bikes guys introduced me to Sam Densmore who makes amazing custom knives on Cape Cod and so on. That’s always my last question as I’m out the door, “Who should I photograph next for this?”

Since shooting for your portfolio is different from personal work, how do you feel when the work is different?
In an industry where I definitely feel like if I’m not getting better I’m getting worse, I think the personal work really informs my client work and point of view. When you remove some of that natural pressure that comes from shooting for clients, it opens up the possibility to experiment and hone new techniques that can then migrate into commissioned work.

Have you ever posted your personal work on social media venues such as Reddit, Tumblr, Instagram or Facebook?
I’ve never used Reddit, but I do post frequently to my Instagram and blog most shoots on my Tumblr.

If so, has the work ever gone viral and possibly with great press?
Not yet, but Instagram did feature one of a shorter series of hand close-ups I shot last year.

Have you printed your personal projects for your marketing to reach potential clients?
Yes, I do quarterly printed promos and recently just did a large run featuring the most recent work from this project.

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A portrait photographer living outside of Boston with his wife and two dogs, Doug Levy spent six years pursuing a career as a professional baseball umpire before meeting his wife and getting struck in the head with a bat showed him that a lifetime of 7:05 starts wasn’t for him. A professional photographer since 2007, Doug’s clients have included WebMD, MIT Technology Review, Dunkin’ Brands and LinkedIn.

You can see Doug’s work on his website http://www.douglaslevy.com or on Instagram @douglevy

APE contributor Suzanne Sease currently works as a consultant for photographers and illustrators around the world. She has been involved in the photography and illustration industry since the mid 80s, after establishing the art buying department at The Martin Agency then working for Kaplan-Thaler, Capital One, Best Buy and numerous smaller agencies and companies. She has a new Twitter feed with helpful marketing information believing that marketing should be driven by a brand and not specialty. Follow her on twitter at SuzanneSease.

Joe Riis stuggles to find the balance when work takes over your life

- - Working

The short film “Joe” highlights Riis’s work in the Yellowstone ecosystem, but it also exposes a much more relatable side of him—the struggle to find balance between life and a job that has basically become his life. “Is my work worth spending more time on my work than my girlfriend?” he asks in the film. “Is my work worth essentially dedicating my life to it? And that changes from time to time. Sometimes I think that, and other times I think: You know, I should just pack it in. I should just go into town and get a job, and actually have a real relationship.”

Source: adventure journal – Joe and the Pronghorns

The Daily Edit: Keirnan Monaghan and Theo Vamvounakis

- - The Daily Edit

 
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Marie Claire

Creative Director: Nina Garcia
Design Director: 
Clare Ferguson
Photo Director:
James Morris
Photo Editor: 
Fiona Lennon
Art Director: 
Wanyi Jiang
Associate Art Director: 
Melanie Springhetti Teppich
Photographers: Keirnan and Theo
Food Stylist: Victoria Granof

What type of direction did you get from the magazine?
We definitely do our best work when clients let us do our own art/creative direction. Collaboration is fun, but it can sometimes lead to too many compromises. True creatives trust their artists. James (Photo Director) allowed us to be ourselves. He was a pleasure to work with.

What background is this particular shot and what was the through line with the styling and overall look to this story?
Our thread for this story was to create a loose social narrative. We try not to get too literal. We also like to give context, so that images aren’t just product shots. We usually find materials we think are beautiful and exciting, and see what works.

How did you overcome the reflections in this shot?
We don’t try to overcome reflections too often. In the case of mirrored objects, we just try to make it work in our favor.

Do you have a lead food stylist you collaborate with?  Is it typically Maggie Ruggiero? I love her work! I see you both work on Gather.
We work mainly with Maggie Ruggiero, and Victoria Granof. They are both absolute pro’s.

Do you both shoot the assignments?
Yes, we are truly a team. We also both do set styling, though Theo is really the Eleanor to my Steve Zissou.

What are each other’s strengths?
I suppose that Theo is a little more left brain to my right brain… but that can switch depending on the circumstance. Either way, we even each other out.

How did you two meet and tell us how your working relationship unfolded.
We met in college, and started living together soon after. We got married in 2009. The thought of working together dawned on us early, though we weren’t sure it could work. However, after almost two years now (and a few tears), it’s been a wonderful collaboration. We definitely overlap in so many ways.

The Daily Promo – Steve Simko

- - The Daily Promo

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Steve Simko

 

Who printed it?
I sourced it through FOXTONE PACKING in New York City. He’s a print broker and is known for his foil stamping expertise.

Who designed it?
Myself and longtime friend/designer Peter Scherrer at STUDIO MOUSETRAP here in Los Angeles.

Who edited it?
Myself. I had originally chosen a different image but felt it like I might have missed something in the first edit and went back a couple weeks later and found this timeless image.

How many did you print?
500 total with 300 for the mailing and 200 for hand outs.

How many times a year do you send out promos?
2-3 times a year with a very specific target of photo editors and art buyers.

Tell us about this image.
This image is from a personal project I photographed with Michael Wilkinson (Oscar nominated costume designer) and his husband Tim Martin. I had shot Michael a couple of years ago and they came to me with an idea for a project they were working on for their new branding company and asking if I had any interest in shooting some Haute Couture clothing. Yes, please !

“Collected” at Pier 24

by Jonathan Blaustein

You know me by now.

Opinions typically flow from my mind to my keyboard faster than OJ Simpson running through an airport to catch a plane.

It’s rarely hard for me to write, and by the time I’ve finished an article, I don’t even know how long it’s taken me. I live and die by the flow, and normally it’s all about the living.

But not today.

Today, I’m struggling to gather my thoughts, like a chef who just can’t figure out the final ingredient to give his soup the proper complexity. (Thyme? Red Chile? Oregano? Paprika? Help!)

I guess it was bound to happen, as the end of my crazy academic year dove-tailed perfectly with my recent trip to San Francisco, and an over-abundance of writing projects.

Basically, I’m burned out, yet finally staring at a summer schedule that will give me a chance to recharge, and summon new ideas with which to bombard you every Friday. I’m only human, and muscling through a column every now and again is not the worst thing in the world.

The problem is that, like last week, I’m trying to figure out a way to write about a small, brilliant part of a larger, still- interesting exhibition. I get the feeling that SFMOMA did not exactly appreciate my efforts last week, as the PR folks there have suspiciously ignored my emails since.

Those guys gave me swag, which was a first, but likely didn’t realize that I speak my mind, and am not afraid to offend. Similarly, Pier 24, the free photo exhibition space on the Bay in San Francisco, also welcomed me graciously.

They arranged for me to visit in-between slots, (there are 3 per day,) and then Associate Director Allie Haeusslein met me for an impromptu interview as well. I felt special, which is one way that organizations encourage journalists to dull the blades of their metaphorical rapiers.

So let me state the obvious here: Pier 24 is pretty amazing. It is a 20,000 square foot exhibition space that is free, open to the public by reservation, and devoted to crafting an unparalleled viewer experience. They only let in 30 people at a time, (excluding the rare journalistic privilege,) so you never have to worry about tripping over your neighbors.

Their current show, “Collected,” is devoted to the collectors who support the Bay Area scene, as is the new “California and the West” show at SFMOMA. It is hard for me to write that, and still tame my sarcasm, but it is simply the reality in America 2016.

We all know about the 1%, and the 1% of the 1%. We know that America is literally, TRILLIONS of dollars in debt, and that China has overtaken us as the most dynamic, if not largest, economy in the world.

Oil-rich kingdoms may drip black gold, but everyone in the US is busy trying to cleave off a slice of some billionaire’s cake. And as art has not been deemed particularly necessary in a STEM-obsessed world, museums and artists alike are now extremely beholden to the contemporary patrons. (Everything old is new again, right?)

The stark truth is that the degree of wealth concentration has only increased the power of those with mega-resources. And the Bay Area art scene was proof positive: pride of place goes to the capitalists, right now, not the content creators.

There was no gallery guide at Pier 24, when I visited, as it had yet to be printed. But there was a little catalogue devoted to the collectors, each of whom had a room displaying their treasures. And we’re talking about “World Class” work here, including luminaries like Robert Frank, (who gets his own gallery,) Gerhard Richter, and Cindy Sherman.

There was an excellent room filled with the F.64 female artists: Alma Lavenson, Connie Kanaga, and Dorothea Lange. Irving Penn popped up, unannounced, with a wicked portrait of Georgia O’Keefe, and contemporary work sat beside mug shots of anonymous 1950’s women, whose sorrow will never be properly revealed.

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Pier 24 rocks, and we should all be thankful that the Pilara Foundation chose to turn its necessary storage space into a cutting-edge exhibition facility. (Gleaned that little tidbit from my interview with Allie.)

Basically, the first 1.5 hours of my visit there were spent looking, thinking, and occasionally trying to guess who made the work. (Unless it was blindingly obvious, like the Frank room.) Allie also said they were intentionally challenging viewers by denying them wall text, so that the pictures could drive conversation, rather than the artist’s name.

Point taken.

But at the end of my visit, I bumped right up against the kind of “Spectacular Artistic Vision” that reminds you why you got into this business to begin with. (Courtesy of William Eggleston, the god of color photography.)

This show, “Collected,” features two rooms filled with nothing but images from the artist’s seminal “Los Alamos” series. If color photography had an ur-text, this would likely be it.

All around me, I saw snazzy old cars, burger stands, Coca Colas, and saturated skies. I saw a naive America, one packed with racial tension, as we are today, but with a chest puffed up with its sense of destiny.

I saw an America that was united in its favorite color: Coca Cola red. Again and again, Eggleston utilizes it, often distinct from Coke itself. Matthew Weiner, another great artist, chose to close his seminal “Mad Men” with a Coke and a smile, and we all know that Coke is a powerful, wealthy, publicly traded corporation, selling toxic sugar-water.

But back in the 60s, I think it represented more than that. It was American entrepreneurship, sugar and caffeine married together, bubbles of effervescence, and a depth of color that we now associate with Target.

Coke was America, as it saw itself. Energetic, world-beating, sweet, earthy, and endlessly satisfying. It was America’s mega-export, before McDonalds.

I always tell my students that light creates color, and color creates mood. These pictures, stacked with deep Red, White and Blue, are as romantic as it gets, in particular because they make sure to balance with loneliness and ennui, rather than veering towards boosterism and propaganda.

(I asked last week when exactly Donald Trump thinks America was great, and I suspect this is what he has in mind.)

I’d bet anything that Mr. Eggleston never thought of this work as a paean to America at the height of its power, with undercurrents of controversy and violence. But a country built on violence and controversy can not begrudge, if it remains deeply embedded in its national character.

He’d probably just say he was out taking pictures, because that’s what you do when you’re a photographer.

Part of why I do get burned out sometimes, in the dual role of artist and critic, is that I yearn to see work this good more often. When Eggleston was out there shooting all the time, (because he apparently didn’t need a day job,) there were dozens of photographers chasing the same desire.

Now, there are tens of thousands of us. And greatness does not go around in that type of supply.

If you want to get better, I’m always telling you, go look at the best stuff. If you’re lucky, you don’t even have to get on an airplane to do it. (I do.)

But if you live anywhere near the Bay Area, hit up the Pier 24 website and book a place to see this show. You might well be seduced by the beautiful-if-veneerish Richard Learoyd room, or the dazzling music-industry gallery featuring the collection of Nion McEvoy.

There are millions of dollars worth of work on the wall, and even rooms that challenge what you think you know about photo history. (In particular two galleries teeming with lesser-known, feminist photographs from the 70s. Yes, there were a lot of boobs.)

For me, spending twenty uninterrupted minutes with Eggleston’s genius was a blessing. It reminded me that finding your own voice is necessary for true cultural impact, and that we’re living in a time when our culture is so striated that almost no one can touch all of America at once. (Good luck, Beyoncé. Have fun, Disney.)

But when we get the chance to steep ourselves in the vestiges of innovation, and the color palette of a once-dominant Empire, it normally costs more than what Pier 24 is charging.

Nothing.
Nothing at all.

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The Art of the Personal Project: Charles Schiller

As a former Art Producer, I have always been drawn to personal projects because they are the sole vision of the photographer and not an extension of an art director, photo editor, or graphic designer. This new column, “The Art of the Personal Project” will feature the personal projects of photographers using the Yodelist marketing database. You can read their blog at http://yodelist.wordpress.com. Projects are discovered online and submissions are not accepted.

Today’s featured photographer is: Charles Schiller

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How long have you been shooting?
30 years

Are you self-taught or photography school taught?
Pratt graduate with degree in photography.

With this particular project, what was your inspiration to shoot it?
The challenge was to make food look good out of the bag as purchased.

How many years have you been shooting this project before you decided to present it?
This project was originally shot over 4 months and then presented 2014. A second installment was added approximately 6 months later.

How long do you spend on a personal project before deciding if it is working?
That greatly depends on the project. Generally 2 or 3 days of test shooting.

Have you ever posted your personal work on social media venues such as Reddit, Tumblr, Instagram or Facebook?
Yes, my work is posted on Facebook, instagram and tumbler.

If so, has the work ever gone viral and possibly with great press?
I did get some internet response from out of the bag but nothing viral.

Have you printed your personal projects for your marketing to reach potential clients?

Yes

Statement:
Out of the bag was a self-assigned personal project. The goal was to produce beautiful appetizing images of purchased prepared food with no food stylist or props, just what came out of the bag. All the food in the original series was from the old Chelsea studio neighborhood. The plan is to continue the series with food purchased in downtown JC. It should be out sometime this fall.

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Charles Schiller has been a new york based photographer for 30 years. Specializing in food and beverages but also with extensive experience shooting still life and products. The studio recently moved from NYC to the powerhouse arts district in downtown Jersey City. The new studio is located at 150 bay street just 2 blocks from the Grove street path station.


APE contributor Suzanne Sease currently works as a consultant for photographers and illustrators around the world. She has been involved in the photography and illustration industry since the mid 80s, after establishing the art buying department at The Martin Agency then working for Kaplan-Thaler, Capital One, Best Buy and numerous smaller agencies and companies. She has a new Twitter feed with helpful marketing information believing that marketing should be driven by a brand and not specialty. Follow her on twitter at SuzanneSease.

Pricing & Negotiating: Environmental Portraits of Client Employees

Jess Dudley, Wonderful Machine

Shoot Concept: Individual and small group environmental portraits of client employees

Licensing: Collateral and Publicity use of up to 34 images for three years

Location: Client offices

Shoot Days: Three

Photographer: Portrait specialist

Agency: N/A—Client direct

Client: A mid-sized regional financial services company

Here is the estimate:

Creative/Licensing: We recently helped a photographer bid on a project for which he was the only photographer being considered. He’d shot a similar project for the same client, a mid-sized financial services company, years earlier, so we had some sense of the budget and production expectations (you can’t ask for a better bidding situation!). Though the concept was straightforward, environmental employee portraits at the client’s headquarters, the photographer’s stylized approach would elevate the portraits from a corporate feel to more of an ad campaign feel. This is something that the client was interested in, and it would ultimately drive the value up toward the top end of the range for this kind of project and usage.

Though we generally try to avoid pricing on a day-rate basis, we’ve noticed a trend in corporate collateral budgets. Depending on the deliverables and specific licensing, we’re often negotiating corporate collateral shoots in the neighborhood of 3,500.00/day plus expenses. For the average deliverables (10-15 images per day) and time-limited collateral usage, this is a middle of the road rate for corporate portraits/lifestyle work. We’re occasionally, if not often, seeing budgets around 3,500.00 flat, inclusive of usage, expenses and processing, which is on the lower end of reasonable. Try as we might to push back in those cases, it will often boil down to a take it or leave it situation. Thankfully, we had a bit more leeway in this case.

For this project, we were able to push the creative and licensing fee up to 18,150.00. Having insight into previous budgets for this client, knowing that this photographer was the only one being considered and factoring in the value of his unique, stylized approach, we felt comfortable pushing the envelope. Additionally, the client’s request for advertising usage options (which we set at 2,000.00 per image due to the limited duration and geography) indicated that the photographer’s stylized approach would be all the more important—and valuable—to the client. Pricing this out on a per-image basis, we would set the value for the first image at 2,000.00, 1,000.00/image for images 2-4, 500.00/image for images 5-24 and 350.00/image for images 26+.

Client Provisions: We made sure to indicate that the client would provide locations, subjects, requisite releases and catering (from their cafeteria). This client also happened to have a video production team on staff and a small production studio. To save on the production costs, they offered to provide grip equipment, their usual groomer and a second assistant for the project.

Tech/Scout Days: We included a tech/scout day to walk through the office and determine the best locations to shoot the various individual and group portraits the day before the shoot.

First Assistant: We included a first assistant to attend the tech scout day and all three shoot days.

Equipment: We estimated 1,200.00/day for two DSLR bodies, a handful of lenses, enough portable strobes for two sets and a few odds and ends that the client’s internal video team couldn’t supply.

Shoot Processing for Client Review: This covers the time, equipment and costs for the initial import, edit, batch color correction and upload of the images via FTP (or similar) for client review.

Selects Processed for Reproduction: We included basic color correction and file cleanup as a lump sum (based on 75.00/image in this case), which protects the processing fee in the event the client ultimately selects fewer than 34 images.

File Transfer: This covers the cost of two hard drives and the shipping of one of those drives (containing all hi-res processed selects) to the client.

Miles, Meals, Misc.: We included a healthy miscellaneous line to cover breakfasts for the crew, local transportation and any other unexpected expenses that may pop up throughout the shoot.

Results: The photographer was awarded the project and shot it a few weeks later. The client has not yet decided to exercise any of the additional usage options.

If you have any questions, or if you need help estimating or producing a project, please give us a call at (610) 260-0200. We’re available to help with any and all pricing and negotiating needs—from small stock sales to large ad campaigns.

The Daily Edit: Miller Mobley

- - The Daily Edit

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The Hollywood Reporter


Director of Photography:
Jennifer Laski
Photo Editor: Carrie Smith / Jennifer Sargent
Creative Director: Shanti Marlar
Photographer: Miller Mobley

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Writer: Libby Peterson

The photograph for the Rangefinder cover was originally commissioned by The Hollywood Reporter.
I think it’s important when great images get a second life and I enjoy the fact they chose this cover image to honor Miller’s career.

You have a portfolio chock-full of celebrity portraits, what made this one unique?
I think there’s a lot of simplicity in this photograph that makes it beautiful. The lighting is simple and understated, the clothing is dark and not distracting. The warms colors of the highlights go in hand with the blues and greens in the shadows. And of course, the subject. Walken was one of my dream subjects (probably one of most photographer’s dream subjects), so to be able to have a portrait of him that I’m proud of is special.

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Do you have a process or narrative for your cover shoots that you try to build from?
Every cover shoot is different. Sometimes there’s a narrative or concept and sometimes it’s just about getting a moment in an uncontrolled environment. I go into every photo shoot with a plan, but also let the “happy accidents” happen. There’s only so much you can control in the type of photography I do.  It’s in my nature to have a strategy when there’s pressure on the line and not a lot of time. With that said, you have to leave room for the un-expected moments.

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Have you ever become starstruck and if so, how did you overcome that?
I will always remember the moment, when my team and I were waiting to photograph President Obama and the First Lady. We had been invited to the White House to photograph them for a cover. We had set up all of our lighting, tested, and were now waiting for them to arrive. I’ll never forget when the doors opened and I overheard from the secret service that the President was about to enter. That was probably one of the most surreal moments in my career. It has nothing to do with politics, but more with the honor of being invited to the White House and having 5 minutes of time with the most powerful man in the country. Once they walked through the doors to greet myself and my team, I remember thinking to myself I can’t believe this moment is happening. It was pretty cool.

How much time did you have for this session?
Unfortunately, only about 15 minutes. As I mentioned, this image was originally commissioned by Jen Laski at The Hollywood Reporter. I was photographing Walken because one his films, “A Late Quartet” was about to hit the screens. I was only given 15 minutes and we had to shoot this in an office building in Manhattan. These are not rare circumstances for me. I thought using a background and doing some simple lighting would justify a classic portrait. Sometimes it’s just good to stay simple.

What type of direction did you get for this project?
Jennifer Laski, the DP at The Hollywood Reporter, who originally commissioned this photograph, told me to get something that feels timeless and iconic. Jen and team at THR are very good about giving the photographer an idea about what they’re looking for, but also leaving room for the photographer to bring back something that’s authentic to his/her style and taste.

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What advice to do you have for anyone that has no experience with talent agents and publicists?
Be kind and easy to work with.  It’s obvious advice, but goes a long way. The entertainment industry is small and very connected. Word gets around if you’re a good photographer to work with or if you’re a difficult prick. That’s not to say that photographs need to be a pushover or a people pleaser on set. I think it’s important to push the limit and get memorable images. At the end of the day, photography is a people business and clients/publicists/agents/actors/musicians/etc. want to work with someone who is enjoyable. That’s just my take on things.

The Daily Promo: Ryan Geraghty

- - The Daily Promo


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Who printed it?
I had my promos printed though Moo. I made test prints through a couple different vendors, but Moo seemed to have the best color and paper quality.

Who designed it?
The promos were designed by me. It’s important to me to keep a simple design that focuses on the images and my style of work. I like to shoot food clean and messy, and I wanted to keep the theme of the promo consistent from front to back.    

Who edited the images?
I did the editing myself, but I always have my girlfriend look over most of the work I send out. Having a second opinion is invaluable when looking at my own images for a long amount of time, and she is incredible at catching any small detail I may have missed. In my personal work editing is very light, mostly color correction and contrast adjustments. The bulk of the work is done with styling and lighting before the camera is even turned on.      

How many did you make?
I had about 30 promos printed up but only sent out 12 in total. This is actually my first time sending out any kind of promotional material, so I really wasn’t sure what to expect in terms of feedback I would receive.      

How many times a year do you send out promos?
Going back to the last question, this is my first time sending physical copies of promotional material to anyone. I mostly promoted myself online while getting my degree. Now that I’m beginning my career, I’ve talked to established professionals I respect who advised me to get my work out there. I’m hoping it will land on the right desk.     

“About Time: Photography in a Moment of Change” at SFMOMA

by Jonathan Blaustein

Trump. Trump. Trump.

I promised I wouldn’t talk about him anymore, yet here I am. The man is simply inescapable.

With all the fear about Trump being the Republican Presidential nominee, I’m sure you’ve looked at an electoral map in the last day/week/month, right?

Of course you have.

The map, with it’s massive blocks of red and blue, tells a story that we all-too-conveniently forget. This nation of ours, the United States of America, has not always been United.

No sir.

Back in the 1860’s, all hell broke loose. America was cleaved in two, and bodies piled up higher than Dr. Dre during an all-night recording session. (Yes, that’s pretty high.)

But you know that as well, because you learned about it in history class. We all did. Civil War. Slavery. Abe Lincoln good, Jefferson Davis bad.

That’s the narrative we’ve all been told, again and again. But I suppose I ought to clarify who the “we” is here. I grew up in New Jersey, in the heart of Yankee country. (Though parts of NJ did have slavery, unfortunately.)

There was never any question as to who the “us” was, as opposed to the “them.” Southerners. Rednecks. Racists. KKK lovers.

They deserved what they got. Right?

While you’ll never catch me questioning the validity of the Civil War, it’s easy to side with blue, 150 years later. And wouldn’t you know it, but that “blue” team’s map lines up pretty neatly with the current “blue” crew as well.

The South is united in its support for Donald J Trump, and most artsy/liberal/creative types, (meaning you and me,) have a very hard time understanding the mass appeal. The man is an orange, braggadocious prevaricator, and I’m being kind.

So why would so many people, across so much terrain, see this lunatic as a potential savior? Why would they trust him to “make America great again,” and when exactly was America great?

I’m glad you asked.

I had the chance to visit the new SFMOMA when I was in San Francisco, as I mentioned in last week’s column. The museum has more than doubled in size, after a 3 year, $305 million renovation. As San Francisco has arrived, so has its most prominent art institution. (Though the deYoung Museum might quibble with me on that.)

I had the good fortune to spend almost 3 hours in the museum, looking looking looking. Paintings, sculptures, photos: the new museum has it all. You might have even heard they now have 15,000 square feet of exhibition space in the Pritzker Center of Photography. (It made the rounds on social media a few weeks ago.)

To say that I saw a lot of art in my time there is a simple understatement. I saw hundreds of images and objects, as I flitted from one wall to another.

Look, think, step to the side.
Repeat.

I wanted to see the “California and the West” show, as I’m writing about it. But there are two major photo shows occupying all that choice real estate, and the other was just as good: “About Time: Photography in a Moment of Change,” curated by Corey Keller. (through September 25th)

No matter how good the art is, there’s only so much our brains can absorb, in a marathon session. So I like to give myself a little test, and just focus on the things that really grab me. It’s fun to have excellence radar, or in my case, a “things I’ve never seen before” gauge.

The more you see, the harder it is to send that meter into the red, but it does happen.

The first time was essentially by accident, as I was standing in front of some images by the LA artist Phil Chang, and the lady behind me made a loud, unhappy snort, like a horse that hates its supper.

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“Excuse me,” I said, “but did I step into your viewing path? If so, I apologize.”

“No, she replied. Her voice became inaudible, as she was clearly distressed, and she finished with “Emperor’s new clothes.”

“If it wasn’t me, is it the art?”

“Yes. I don’t get it. It’s making me angry.”

Before you knew it, I was right back in art professor territory, and tried to explain to the woman what there was to “get.” Apparently, Mr. Chang makes gelatin silver prints, like many photographers, but he chooses not to fix the images.

He invites people, like the curator, Ms. Keller, to watch the images as they slowly fade to black. It’s meant to be performative, I suppose, and it’s possible no one has ever thought to do that on purpose, or to turn it into a concept.

That’s what I told this grumpy stranger, who nodded, accepting that there was more to the work than met the eye. (Simple, all black images, the photo equivalent of Ad Reinhardt.) She walked away, determined to find something of which she approved. (And I Googled Phil Chang when I got home. He’s a part of the super-trendy “Photography is Magic” clique, so I understood things in that context.)

Will I remember his work now? Absolutely. Am I surprised that a concept as simple as not fixing your work has gotten this dude famous? Not really.

I understand the way the world works. I might be obnoxious, but they don’t call me stupid.

That work stuck out because of its concept, as it was meant to. Paul Graham had a diptych in the show that was hung just above the floor. Again, you could call it a gimmick, or you could say it’s challenging orthodoxy, and both would be right.

(But I don’t remember the images as clearly as where they were hung.)

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So many pictures, so little brain space. It’s an excellent show, that much is clear, and you should go see it if you can. But nothing really shook me inside and out until I got to the very last room in the exhibition.

There I stood face to face with a suite of images by George N. Barnard, a photographer of whom I hadn’t heard before. Not surprising, given he’s been dead for more than a century. (There was no Facebook to promote yourself in the 19th Century, unfortunately.)

His images were a part of a series, “Photographic Views of Sherman’s Campaign,” that looked at the South, during and after the Civil War. It focused on locations that had been wrecked, destroyed, annihilated, by the famed march of William Tecumseh Sherman. And I had never, ever seen pictures quite like this before.

Sure, we’ve all seen a Matthew Brady or two, and if you read regularly, you know I have a soft spot for Roger Fenton. But this was something different, for me at least.

The prints just felt so real. So lived. So ancient. And there were so many of them.

The photographs were obviously well-made, with terrific compositions and excellent tonal range. You can almost see this man, living in an unrecognizable world, standing among smoldering ruins with a big camera.

Looking.

You don’t have to imagine what defensive Earthworks look like, if you don’t want to. These pictures show you quite well. Bulwarks, bastions, who the hell knows what these are called, but the spiked wooden fences were pretty hardcore, if you ask me.

There’s an image of a soldier in a stove-pipe hat, sitting on top of some ramparts outside Atlanta. (Are they ramparts?) I stared at that picture for a few minutes, my brain trying desperately to comprehend it was real.

That’s one of the true curses of our digital age: we are all so ready to accept the digital world is “real” that it can make us question reality as it actually transpired. If everything can be faked, how are our eyes to recognize lived history?

Sure, I know who won the Civil War. And yes, we’ll always condemn slavery wholeheartedly, even when the Donald equivocates. (I need more info before I disavow the KKK, OK? I want to have an informed opinion, you losers.)

But these pictures, more than any I’ve ever seen, helped me understand that aforementioned electoral map. Half of our country was conquered by the other half. Its landscape was altered, its soul diminished, but its pride remains in tact.

Perhaps we ought not blame the Southerners who feel ruled by outsiders, and wittingly join leaders who promise a return to prominence. But empathy is hard, especially with a bloc of people known for a dark, exploitative history.

I get it.

But I went into an art show, and came out with a different perspective. That’s about as much as I ask of any museum, or any photographer for that matter.

SFMOMA was kind enough to provide an entire set of Mr. Barnard’s images, as jpegs, of course, so you can view them on your screen of choice. (Phone, tablet, computer, TV…)

That’s right. Some albumen prints, made before any human being alive today, have been digitized, for our pleasure. (Bringing the Civil War into the 21st C.)

So next time you make a crack about the hicks in South Carolina who just don’t know any better, just remember that they’re likely carrying grievances we really can’t understand. And the best photographs help us see the world from someone else’s perspective, even if that person has returned to dust.

George N. Barnard, Whiteside Valley below the Bridge, from Photographic Views of Sherman's Campaign, 1864; albumen print; 10 x 13 15/16 in. (25.4 x 35.4 cm); Promised gift of Paul Sack to the Sack Photographic Trust

George N. Barnard, Whiteside Valley below the Bridge, from Photographic Views of Sherman’s Campaign, 1864; albumen print; 10 x 13 15/16 in. (25.4 x 35.4 cm); Promised gift of Paul Sack to the Sack Photographic Trust

George N. Barnard, Ruins of the Railroad Depot, Charleston, South Carolina, from Photographic Views of Sherman's Campaign, 1865; albumen print; 10 1/8 x 14 1/4 in. (25.72 x 36.2 cm); Collection of the Sack Photographic Trust

George N. Barnard, Ruins of the Railroad Depot, Charleston, South Carolina, from Photographic Views of Sherman’s Campaign, 1865; albumen print; 10 1/8 x 14 1/4 in. (25.72 x 36.2 cm); Collection of the Sack Photographic Trust

George N. Barnard, Ruins of the Pinckney Mansion, Charleston, South Carolina, from Photographic Views of Sherman's Campaign, 1865; albumen print; 10 x 14 in. (25.4 x 35.56 cm); Collection of the Sack Photographic Trust

George N. Barnard, Ruins of the Pinckney Mansion, Charleston, South Carolina, from Photographic Views of Sherman’s Campaign, 1865; albumen print; 10 x 14 in. (25.4 x 35.56 cm); Collection of the Sack Photographic Trust

George N. Barnard, Ruins in Charleston, South Carolina, from Photographic Views of Sherman's Campaign, 1865 or 1866; albumen print; 10 1/8 x 14 1/8 in. (25.72 x 35.88 cm); Collection of the San Francisco Museum of Modern Art, fractional gift of Paul Sack, and collection of the Sack Photographic Trust of the San Francisco Museum of Modern Art

George N. Barnard, Ruins in Charleston, South Carolina, from Photographic Views of Sherman’s Campaign, 1865 or 1866; albumen print; 10 1/8 x 14 1/8 in. (25.72 x 35.88 cm); Collection of the San Francisco Museum of Modern Art, fractional gift of Paul Sack, and collection of the Sack Photographic Trust of the San Francisco Museum of Modern Art

George N. Barnard, Rebel Works in Front of Atlanta, Georgia, No. 4, from Photographic Views of Sherman's Campaign, 1864; albumen print; 10 x 14 1/8 in. (25.4 x 35.88 cm); Collection of the Sack Photographic Trust

George N. Barnard, Rebel Works in Front of Atlanta, Georgia, No. 4, from Photographic Views of Sherman’s Campaign, 1864; albumen print; 10 x 14 1/8 in. (25.4 x 35.88 cm); Collection of the Sack Photographic Trust

George N. Barnard, Rebel Works in Front of Atlanta, Georgia, No. 1, from Photographic Views of Sherman's Campaign, 1864; albumen print; 10 1/8 x 14 1/8 in. (25.72 x 35.88 cm); Collection of the Sack Photographic Trust

George N. Barnard, Rebel Works in Front of Atlanta, Georgia, No. 1, from Photographic Views of Sherman’s Campaign, 1864; albumen print; 10 1/8 x 14 1/8 in. (25.72 x 35.88 cm); Collection of the Sack Photographic Trust

George N. Barnard, Nashville from the Capitol, from Photographic Views of Sherman's Campaign, 1864; albumen print; 10 1/8 x 14 1/8 in. (25.72 x 35.88 cm); Collection of the Sack Photographic Trust

George N. Barnard, Nashville from the Capitol, from Photographic Views of Sherman’s Campaign, 1864; albumen print; 10 1/8 x 14 1/8 in. (25.72 x 35.88 cm); Collection of the Sack Photographic Trust

George N. Barnard, Destruction of Hood's Ordnance Train, from Photographic Views of Sherman's Campaign, 1864; albumen print; 10 1/16 x 14 1/16 in. (25.56 x 35.72 cm); Collection of the Sack Photographic Trust

George N. Barnard, Destruction of Hood’s Ordnance Train, from Photographic Views of Sherman’s Campaign, 1864; albumen print; 10 1/16 x 14 1/16 in. (25.56 x 35.72 cm); Collection of the Sack Photographic Trust

George N. Barnard, Defenses of the Etawah Bridge, from Photographic Views of Sherman's Campaign, 1866; albumen print; 10 1/16 x 14 1/16 in. (25.56 x 35.72 cm); Collection of the Sack Photographic Trust

George N. Barnard, Defenses of the Etawah Bridge, from Photographic Views of Sherman’s Campaign, 1866; albumen print; 10 1/16 x 14 1/16 in. (25.56 x 35.72 cm); Collection of the Sack Photographic Trust

George N. Barnard, City of Atlanta, Georgia, No. 2, from Photographic Views of Sherman's Campaign, 1866; albumen print; 10 1/16 x 14 3/16 in. (25.56 x 36.04 cm); Collection of the Sack Photographic Trust

George N. Barnard, City of Atlanta, Georgia, No. 2, from Photographic Views of Sherman’s Campaign, 1866; albumen print; 10 1/16 x 14 3/16 in. (25.56 x 36.04 cm); Collection of the Sack Photographic Trust

 George N. Barnard, Chattanooga Valley from Lookout Mountain, No. 2, from Photographic Views of Sherman's Campaign, 1864 or 1866; albumen print; 10 1/16 x 14 3/8 in. (25.56 x 36.51 cm); Promised gift of Paul Sack to the Sack Photographic Trust


George N. Barnard, Chattanooga Valley from Lookout Mountain, No. 2, from Photographic Views of Sherman’s Campaign, 1864 or 1866; albumen print; 10 1/16 x 14 3/8 in. (25.56 x 36.51 cm); Promised gift of Paul Sack to the Sack Photographic Trust

George N. Barnard, Buzzard Roost, Georgia, from Photographic Views of Sherman's Campaign, 1866; albumen print; 10 x 14 1/8 in. (25.4 x 35.88 cm); Promised gift of Paul Sack to the Sack Photographic Trust

George N. Barnard, Buzzard Roost, Georgia, from Photographic Views of Sherman’s Campaign, 1866; albumen print; 10 x 14 1/8 in. (25.4 x 35.88 cm); Promised gift of Paul Sack to the Sack Photographic Trust

George N. Barnard, Battle Ground of Resaca, Georgia, No. 2, from Photographic Views of Sherman's Campaign, 1866; albumen print; 10 x 14 1/8 in. (25.4 x 35.88 cm); Promised gift of Paul Sack to the Sack Photographic Trust

George N. Barnard, Battle Ground of Resaca, Georgia, No. 2, from Photographic Views of Sherman’s Campaign, 1866; albumen print; 10 x 14 1/8 in. (25.4 x 35.88 cm); Promised gift of Paul Sack to the Sack Photographic Trust

 George N. Barnard, Battle Field of New Hope Church, Georgia, No. 1, from Photographic Views of Sherman's Campaign, 1866; albumen print; 10 x 14 1/8 in. (25.4 x 35.88 cm); Promised gift of Paul Sack to the Sack Photographic Trust


George N. Barnard, Battle Field of New Hope Church, Georgia, No. 1, from Photographic Views of Sherman’s Campaign, 1866; albumen print; 10 x 14 1/8 in. (25.4 x 35.88 cm); Promised gift of Paul Sack to the Sack Photographic Trust

The Art of the Personal Project: Gabriela Hasbun

As a former Art Producer, I have always been drawn to personal projects because they are the sole vision of the photographer and not an extension of an art director, photo editor, or graphic designer. This new column, “The Art of the Personal Project” will feature the personal projects of photographers using the Yodelist marketing database. You can read their blog at http://yodelist.wordpress.com. Projects are discovered online and submissions are not accepted.

Today’s featured photographer is: Gabriela Hasbun

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How long have you been shooting?
11 years

Are you self-taught or photography school taught?
Although I went to photo school, some of the most valuable lessons I’ve learned were from assisting other photographers.

With this particular project, what was your inspiration to shoot it?
A friend approached me about collaborating with her on a project. After a while, she lost interest, but I’ve been pursuing it ever since! The Mission neighborhood was, and is, my hang out. It’s a project I continually revisit over time.

How many years have you been shooting this project before you decided to present it?
Not long— maybe a year after I started shooting my Mission series, I got asked to be part of a group show at a gallery in San Francisco. Soon after that, I started sharing the collection with photo editors as part of my portfolio. In fact, it was the primary body of work that got me my first assignment work.

How long do you spend on a personal project before deciding if it is working?
If I don’t feel passionate about it or if it isn’t working out in my head, a personal project never gets shot.

Since shooting for your portfolio is different from personal work, how do you feel when the work is different?
For me. there is no difference between portfolio work and personal work. They are one and the same. I choose subject matters that I’m interested in learning more about or have a true connection to.

Have you ever posted your personal work on social media venues such as Reddit, Tumblr, Instagram or Facebook?
My strength isn’t self-promotion online and I don’t usually put much energy into posting these projects there. However, three years ago, Feature Shoot picked up my Fat Series and it went viral.

http://www.featureshoot.com/2013/07/fat-happy-and-healthy-women-photographed-by-gabriela-hasbun/

If so, has the work ever gone viral and possibly with great press?
When my Fat Series went viral, a lot of media outlets picked it up. I am definitely protective of that particular series because people on the internet love to body shame and I have a lot of affection for those subjects— I consider many of them my friends. Each time the work was published, the online comments started to spiral out of control. It was an odd balance between feeling excited to see the series published in so many media outlets but I also wanted to shield my subjects from negativity.

Have you printed your personal projects for your marketing to reach potential clients?
Yes, in the past, I’ve sent some personal work as marketing promos and I also try to show personal work to clients every time I see them in person. Those photographs always seems to be what interests them most and what we end up connecting over more deeply.

Artist Statement:
In 2002, I decided to document some of the Mission’s most colorful patrons. San Francisco’s Mission District has long been the home of the working-class retailer. Between the 1906 earthquake and World War II, Mission Street was proudly known as the “Mission Miracle Mile.” Second only to San Francisco’s Union Square shopping district, Mission Street provided a shopping haven for goods and services of high quality. As a symbol and testament to its name, there were two decorative bridges on each end of Mission Street, beginning on 16th street and ending on Cesar Chavez.

The Mission has historically been a neighborhood for the immigrant. Jewish, Irish, Italian and Hispanic families have all resided and worked in this area for decades. Currently, the neighborhood is in the midst of dramatic changes. Since the early 2000’s the area has seen an explosion in popularity with the Bay Area’s young tech entrepreneurs, resulting in an influx of upscale retail outlets and trendy eateries, often pricing out the residents and small businesses who’ve made the area so special.

This series of images hopes to capture the essence of the small businesses and the owners who have been in the neighborhood for over 30 years before the neighborhood is completely gentrified. JJ O’Connor Florists, an establishment that came to Mission street over a hundred years ago, was among the oldest in this tradition and one of the many I’ve been lucky to photograph. Sadly, it shut down, as have many of the others that are documented in this series.

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Gabriela Hasbun lives in San Francisco with her husband, Nick, and their little boy, Matteo. Gabriela comes from a large and vibrant family in El Salvador. Even though she hails from warm and humid lands, she’s adapted well to the air conditioned climate of the Bay Area.
 
Gabriela loves shooting for editorial and commercial clients, specializing in environmental portraits. ‘Bold’, ‘colorful’, and ‘quirky’ are common descriptions of the work she produces. Her portraits have been featured in numerous magazines including Fortune, Sunset, WIRED and The Wall Street Journal. She has several portrait series based on cultural issues that document change and gentrification in the Mission and Polk street districts of San Francisco which have also been exhibited at San Francisco galleries including Southern Exposure and San Francisco Arts Commission.


APE contributor Suzanne Sease currently works as a consultant for photographers and illustrators around the world. She has been involved in the photography and illustration industry since the mid 80s, after establishing the art buying department at The Martin Agency then working for Kaplan-Thaler, Capital One, Best Buy and numerous smaller agencies and companies. She has a new Twitter feed with helpful marketing information believing that marketing should be driven by a brand and not specialty. Follow her on twitter at SuzanneSease.

The Daily Edit – ESPN: John Huet, Karen Frank, Kristen Schaefer Geisler and Bill May

- - The Daily Edit

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ESPN Magazine


Photography Director: Karen Frank
Project Photo Editor: Kristen Schaefer Geisler

Creative Director, Digital and Print Media: Chin Wang
Art Director: Heather Donahue
Senior Designer: Linda Pouder
Photographer: John Huet

Karen Frank
Kristen Schaefer Geisler

This story comes with such gravity for the sport, how did that added layer of importance influence your edit? It’s not often one gets editing opportunities like this.
Karen Frank: 
John’s images beautifully capture Bill’s athleticism, grace, and optimistic spirit.  The poetry of the underwater images speak to Bill’s quest for excellence and his ability to succeed as a male in a female dominated sport, and evolve the sport in doing so.

What was your biggest challenge logistically?
Kristen Schaefer Geisler:
 Our biggest challenge was getting this shot before the swimmers left for Russia to compete in the World Synchronized Swim Championships; finding time when the three swimmers’ schedules could overlap in between busy lives and schedules.

What type of direction did you give John for this?
KSG: I assigned the shoot to photographer JOHN HUET after noticing on his website that he had shot syncronized swimming before. I talked a lot with the writer of the story Taffy Akner, who had just spent days with Bill and could describe in great descriptive detail Bill’s personality, which helped us conceptualize direction and a shot list. We asked John to capture beautiful underwater synchro swim pictures with his duet partners, above water portraits, as well as a-day-in-the-life of Bill May backstage at his Cirque du Soleil O show. We got access to photograph him teaching an abs class to his fellow Cirque dancers and putting on his show makeup before going onstage.

I know it’s unprecedented for ESPN to devote this many pages to a story, what moved the needle for the team to green light this?
KF: There is a strong commitment to long form journalism at ESPN.  Taffy’s story about Bill was so compelling, and John’s images were so strong, that we all felt it was necessary to give this story lots of room in print as well as digitally.

What made this project a stand out for you?
KSG:  This story is visual and theatrical; both in the synchronized swim choreography as well as the Cirque O show – we needed a photographer who could capture Bill’s personality and bring artistry and point of view to the pictures.

In a few words what is the most rewarding part of your job at ESPN and how has this title impacted your career?
KF: There are so many stories that can be told through the prism of sports.  ESPN recognizes the power of visual storytelling and the rich opportunities to do so across all its platforms.  Working across those platforms has broadened my vision of how photography can be leveraged and sharpened my ideas about how the story is told in each medium.

 

John Huet

Heidi: Did you do have to adjust your shooting style at all for something this unique?
John: 
I don’t really adjust my style for different projects, nor can I really define my own style.

This simple story sum things up nicely – Alfred Eisenstaedt was hired to shoot our college portraits. He came into my class of 20 kids, and he asked everyone, “What kind of photographer do you want to be?” I was one of the last kids to be asked, when it was my turn, I replied, “fashion photographer.” He asked why. He’d not asked any of the other kids this follow up question. I panicked and blurted out, “Because I like girls!” Everyone in class had a good laugh, and then Alfred later explained that being a fashion photographer is no different than being any other type of photographer. You have a subject in front of you, treat that subject in front of you the same as you would a gown on a hanger.  It becomes a portrait of a gown, just as if a person was standing there.

So, I don’t look at myself or categorize myself as a sports photographer, I see myself as a photographer, and I see the subject in front of me as a subject. At the end of day, all photographs are solved with the same notes, regardless of the subject matter.

Was this pool designed as a viewing room?
No, I’m a certified diver. I was underwater.

You have a long running history with the Olympics, what spoke to you as a photographer about this project?

Synchronized swimming is really beautiful. It’s very similar to figure skating, especially in pairs. The artistry, the incredible athleticism. Most people don’t understand the caliber of these athletes. My prior experience with shooting synchronized swimming had been at the Olympics. In Athens and London, I shot from an underwater window, and in Beijing, I shot from above the window. So much of the SS routine and so much of what is going on happens underwater, so I wanted to be under the water to capture this experience.

If I had more control for this ESPN project, I may have done things differently, maybe picked a different pool. What you have to keep in mind is I’m working with world class athletes, training for a World Championship a month before their event, so I can’t do anything to screw up their routine or throw them out of whack. I have a deep understanding that athletes have rituals and patterns, everything needs to follow their well-laid-out plans. I had about 1/2 hr to do the deck images. They do a series of poses before entering the water, then I captured what I could capture while they were doing their routine underwater. Practice was about 3 hrs. I was allowed to be in the pool, only to watch and, of course, not get in their way.

For the out of the water shots, how if at all did you direct them and how much time did you have?
I didn’t have to direct them at all. It was awesome to have their coach right there directing them, perfecting their moves while I was shooting. I got another 1/2 hr at the end of practice; talked with them for about a minute above water, then we went underwater. We communicated via hand signals, and I tried to direct them to where the light was best.

Did you propose the variety of color and BW to the magazine or simply turn in the images?
I proposed this, along with running the images upside down. I sent in about 80 images, which I shot over three days, but it was more like a  2 day shoot since it was so broken up.

I scouted, shot some of the scout, then the next day shot all of the images in the water, then I went back to their practice, even though this wasn’t part of my schedule; I did that for me. Bill had a big send-off party at O, the Cirque du Soleil show in Vegas, which I also photographed. He and the two women in the photographs, Kristina Lum and Christina Jones, were doing a performance at O. I shot Bill getting ready for the show and shot the first portion of the show under the window, which was really tough because it was so dark. Bill would come over to the window, mug for the camera and then swim off.

With every job, I have the same process. I do an edit after looking at everything. Once I have my edit, I’ll retouch the images and then send in only my retouched files. For this particular project I ended up going back to review the shoot, and over the course of 2-3 days, I sent in small batches of additional images because I kept changing things, looking at images differently.

How did the idea of these surreal, upside down images develop?
I first did this with the Athens SS Olympic images and then with London, presented them upside down. Underwater, everything is upside down for the swimmers, so this a play on the mind’s eye of the viewer. Underwater, they look like they are standing there, with no restrictions of gravity, so they appear relaxed, standing on top of the water. I wanted to use the pool light to signal this was the surface of the water (again to reinforce the mind’s eye play), to always have the pool light acting as the surface of the water or the “ground.”

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Faces of Choice

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Bill May

You’ve been photographed many times, what was different about shooting with John?
Bill May: 
The difference between John and many other photo shoots was that John had a very clear idea of what he was looking for and what would create the most beautiful images through a collaboration between us as the athletes and him as the photographer. Many times a photographer will come in and shoot solely a stale image of only part of what we are trying to represent as synchronized swimmers. John truly showcased the athleticism of a sport that, unfortunately, often has a reputation as simply just a show sport.

Did you free form poses for John, or did he direct you when you were out of the pool?
John was our eyes, so we would begin by free-forming poses, and John would take what we presented and elevate it to something amazing.

Tell us about having your dream taken away or shelved for almost a decade, and then re-present itself.
I would never say that my dream was taken away from me because my career in Synchronized Swimming was much bigger for me than a few competitions. I would not be where I am today if I hadn’t taken the path I chose to take. However, I believe that timing is everything. I was very lucky to continue to train and be involved in synchronized swimming in a show, so when the opportunity arose, I wanted the challenge. I think the interest is much greater for men in synchronized swimming today than it was a decade ago. There is a possibility that if it had been added to the World Championships 10 years ago, it might have fizzled due to lack of participation. Now I am once again in full training, hoping they will create an Olympic Synchronized Swimming event for the Mixed Duet.

What advice do you have for any athlete who has the seemingly impossible dream in a mostly female sport?
The advice I have for any athlete is to do the sport that you love, first and foremost, before worrying where it will take you. Everything else will fall in line, and the rewards will be much greater than when relying on a what is and might not be possible. We cannot all write our future, so I truly believe that the happiness we create for ourselves today is what gives us our happiest memories in years to come.

What impact do you hope this story has for the sport?
The Mixed Duet is a brand new event at the World Championships and major international competitions, and I think through John’s pictures it shows as a beautiful, and more importantly, an athletic event. We are in a big push to get this Mixed Duet event into the Olympics, and I think his photos have created an interest that makes people want to see more. I truly believe he has helped our sport, and above all, the Mixed Duet in so many ways, and I am forever grateful. It was such an honor to work with John. His professionalism and talent are unrivaled. He was so respectful of our time and photographed with ours and our sport’s best interest in mind.



 

 

 



 

The Daily Promo: Kyle Johnson

- - Working

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Who printed it?
This piece was printed by the incredible team at Blanchette Press in Vancouver B.C. This promo is the second piece I have printed with them, going with well respected offset printers sets a high bar for quality.  I had the pleasure of going up to B.C and directly working with owner Kim Blanchette on our press day. It was interesting to see exactly how the analog process works and the subtle changes Kim would make to get the best images possible. He told us “Our goal is to create 3 dimensions existing within 2d space”. I truly think the difference in offset vs digital quality is worth the extra cost and most professionals in the industry appreciate the print quality when looking at the piece.

Who designed it?
I teamed up with the designers at Shore (www.madebyshore.com) for this promo. We had worked on a similar print promo last year together and decided to keep the design similar referencing last years piece yet changing some things on size, color, etc.. Joe & Julian have become close friends over the years and they have a good feel for my aesthetic as a photographer.  I like how they use design elements that feel consistent with my style. It’s not “over designed” and allows the photography to be the focus.

Their passion for design and creating a quality print piece is another reason our collaborations have been successful. They know that although I might not be their biggest client, I share a love for quality and the final piece will be one we are both proud of and that I am willing to invest in. I have to thank them for also finding the interesting paper stock we used on the “faux cover” as well as the addition of white foil lettering for such a clean finish.

Who edited the images?
The initial edit was done myself. I had some favorite images that I knew I wanted in there. I did however work with my agent Maria Bianco before finalizing the piece. I really enjoy the editing process with her. I think personal promotion is a great chance to re-visit shoots from the past year and find some hidden outtakes that may of not made the final story. Pairing unrelated things you wouldn’t expect can make a great overall piece. Maria has a real talent for editing and helped me pair of some of my favorite spreads. I also think its important to mix some personal work with things from jobs. It shows photo editors and art buyers the images you truly love to make.

How many did you make?
I decided on making 500 for this piece. The price for offset printing isn’t cheap and you often do save money if you get a lot made, however for a special piece like this, I wanted it to be limited and directed at specific clients. I didn’t need to spend too much money sending it to tons of people who don’t make sense for my work.

How many times a year do you send out promos?
I try to do one special high quality promo book piece like this one, as well as a few smaller postcard type mailers throughout one year.